Slant Magazine's Scores

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For 7,779 reviews, this publication has graded:
  • 33% higher than the average critic
  • 3% same as the average critic
  • 64% lower than the average critic
On average, this publication grades 6.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Mulholland Dr.
Lowest review score: 0 Jojo Rabbit
Score distribution:
  1. Positive: 4,353 out of 7779
  2. Mixed: 1,493 out of 7779
  3. Negative: 1,933 out of 7779
7779 movie reviews
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  1. Victoria and Abdul
    By privileging the white characters in its narrative, Victoria & Abdul exposes itself as insidiously hypocritical.
  2. Boston Strangler
    While the film’s determination to spotlight the women who brought down the Boston Strangler over the killer himself is admirable, it leaves a hole in the middle of the film that nothing else really manages to fill.
  3. Altered States
    The most interesting dimension of Altered States has to be the way Russell sexualizes Eddie’s relationship with godly figures, most notably symbols of Jesus, crucifixion, and his father.
  4. Crimes of the Future
    Gradually, Crimes of the Future becomes a surprisingly thorough and anticipatory working draft of the prototypical Cronenberg body-horror film, dramatizing, with characteristically repulsed fascination, a series of biological mutations that usher in a micro-culture given to cannibalism, pedophilia, and other practices that indicate a looming erasure of personal identity.
  5. Wolf Totem
    It becomes difficult to separate the natives from their communist masters in terms of their treatment of their natural surroundings.
  6. The Model
    The film unapologetically warns us at every turn that fashion is nothing but a business, fueled by naiveté and rape.
  7. Balls Out
    The film reveals itself as a sports movie actually attuned to the knowledge that victory in an inconsequential game bears no meaning.
  8. Brainwashed: Sex-Camera-Power
    Nina Menkes’s documentary comes dangerously close to inhabiting its own title.
  9. Freaky Tales
    For all of its spiritedness, Freaky Tales wants for the sense of invention that defines the films that it references and whose moves it often falls back on borrowing.
  10. Child's Play
    Child’s Play is only a shade more terrifying than Teddy Ruxpin.
  11. Stoker
    The film's weird mix of dollhouse dread and fashion-magazine chic can be fetching, but it's nothing if not vacuous, a series of disjointed, improvisatory riffs that recall the brazen aesthetic overload of Amer.
  12. Love & Air Sex
    Whatever predictable plot the film tries to unfold never lives up to the excitement of its conceptual gimmick.
  13. Trouble with the Curve
    Clint Eastwood makes his infamous chair speech look like chapter one of a season of self-parody.
  14. Nerve
    By merely transposing its generic high school clique drama onto an augmented reality platform, Nerve sacrifices most of its novelty, but the filmmakers demonstrate a marginal interest in how this mediated environment warps the perspectives of its characters.
  15. Eternity
    The film is very old-fashioned in its thinking and approach to fantastical romance, despite some occasional, vague allusions to the fact that it is, still, a 2025 film.
  16. The Keeping Room
    Director Daniel Barber uses a bleak and unresolved portion of American history to justify indulging typical genre-film nihilism.
  17. The Highwaymen
    Where Bonnie and Clyde is gloriously tragic, The Highwaymen is blunt and anti-climactically savage, fulfilling as well as somewhat critiquing former Texas Ranger Frank Hamer’s bloodlust.
  18. Neighbors 2: Sorority Rising
    The film's expected rehash of recent pop-culture totems is accompanied by a novel attention to millennial-centric debates about entitlement and identity politics.
    • 58 Metascore
    • 50 Critic Score
    Universal Soldier: Day of Reckoning
    Like a stiff Schwarzeneggerian conqueror making good on an "I'll be back," John Hyams returns to one-up the franchise again.
  20. Gayby
    While Jonathan Lisecki is well in tune with his film's niche market, his knack for comedy, both visual and verbal, is universally hilarious.
  21. Orchestra of Exiles
    Its episodic nature poses a narrative challenge that director Josh Aronson's just barely feature-length documentary can't quite surmount.
  22. Wheeler
    Ryan Ross's Wheeler is at its strongest as a showcase for Stephen Dorff’s husky, lived-in performance.
  23. The House of Tomorrow
    The impressionistic tenor of the unabashedly energetic final sequences is so wondrous that you may wish that writer-director Peter Livolsi had utilized it as The House of Tomorrow's guiding principle.
  24. Duck Butter
    The setup of a 24-hour relationship that bypasses the getting-to-know-you phase speaks to the nature of expedited modern dating culture, but despite its attempts at intimacy, Duck Butter is difficult to fall in love with.
  25. High & Low: John Galliano
    The film shamelessly announces from the very start that it’s an attempt at atonement for disgraced designer John Galliano.
  26. The Mule
    The film finally ends up souring its perspective on responsibility with a hardened take on the limits of the American dream.
  27. The Oath
    Even while it asks us to recognize ourselves in a world not too distant from our own, The Oath seems to say that the worst part of a full-fledged American dystopia would be the ruined holiday dinners.
  28. Turbo
    As a film about social issues, and simply being yourself, it's commendably progressive, going so far as serving as a kind of coming-out story.
  29. Bottom of the 9th
    Raymond De Felitta’s film offers a sampler course of formulas, which creates a strangely unfulfilling tension.
  30. Sisters
    A regurgitation of Apatowian formula, wherein ostensibly edgy humor hides a core of conservative moralizing.
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